“Birth House of Ignacio Agramonte” Museum

During the first decade of the 18th century a shed type house occupied this spot, later on, towards the second half of the century the Agramonte Recio family built the two-story house which now stands in its place.
Ignacio Agramonte y Loynaz who became Major General of the Liberating Army in the 10-year war was born in this house on December 23 1841.
The house occupies a large area and volume, forming angles with the streets Soledad y Candelaria. Its main facade has a wide Spanish door in an elliptical arch flanked by two slender pilasters with threaded moldings, bearing as its only detail the family’s Coat of Arms. The continuous balcony with wooden posts finished with wooden capitals can be found on the front and lateral facades, distinguishing the building and bestowing upon it great architectural value. The mezzanine level is marked on the outside of both facades by two detached balconies. The building’s layout is C-shaped and has balcony with wooden posts looking down unto the interior courtyard, in which we can find five tinajones, and a well with a white marble rim.
Access is gained through the zaguan to the courtyard, secondary dormitories, or to the staitway that rises to the mezzanine level that housed the servants quarters.
On the uppermost floor the magnificent woodwork of the four-sloped roof with trusses, paired struts and fretwork can be observed as well as the exquisite frieze that adorns the spacious main room which is likewise decorated with the beautiful objects of that period.
All the interior and exterior carpentry reproduces faithfully details of the period, windows with shutters and asymmetrical bars, sculpted balusters and Spanish-style doors with smooth panels fixed by iron nails all offering security and beauty to the building.
Throughout time this house was used for different purposes, as the family home, business establishment and Spanish consulate among other uses. On May 11, 1973 it was inaugurated as a memorial house to commemorate the centenary of the Major’s death in combat.Because of this building’s historical and architectural importance it has been declared a national monument.

Vocational School "Máximo Gómez Báez"

Inaugurated on September 1, 1976, day of beginning of the course 1976-1977, our school opens its doors with Fidel Castro speech in which made reference at the escolarization level reached then in the country until that and to the narrow relationship that should exist between the teaching and the science and I mention textually: "Because the education has to go chord with the advances of the science and of the technique"

It was starting from here that the Institute Vocational Preuniversitary of Exact Sciences of Camagüey begins its work of educating to young with vision scientific and future developers from how many advances comes in later times.

Initially it begins with a capacity for 2500 internal students in a surface of construction of 45 000 m2 and following a typical architectural pattern of projects elaborated for the whole plan of schools of the years '70 and that it was characterized for "a very studied interconnection plot that one of the dominant features of the group constitutes " (in other words: you can go without wetting you from an end to another in days of rain)

The main architects of the enclosure were Reinaldo Togores Fernández and Carlos López Quintanilla jointly with the consultants Andrés Garrudo and Heriberto Duverger.

The same as the rest of the vocational schools, the study plan embraced the complete cycle Secondary-Preuniversitario being divided, in a principle, in the following way: 1307 students in Secondary Basic and 1193 in Preuniversitary.

As curious data we have that, according to memories descriptive originals of the institution in their inauguration moment, the regime of productive work (... the field, gentleman) it was of 3 daily hours, sew that later it changed (evidently). The distribution of water was carried out for two nets, one for the cold water and the other one for the hot water (ehhhh..... no way of this) and also the "gym" it had a wooden of 18 x 42 m, bathrooms and box offices for students and professors and local for weights, fencing and table tennis.

Museums in Camagüey

Birth Home of Ignacio Agramonte Birth Home of Ignacio Agramonte Camagüey Cuba

One of the most illustrious sons of the Camagüey province has left to history his endless fight for the liberation of Cuba from Spanish rule. That is proven by the documents, testimonies, and numerous belongings of the family that resided in the very well-preserved house since 1828 or before. The house, located in the center of the city, became a museum in 1973.
Address: Avenida Ignacio Agramonte # 59, Camagüey

Birth home of Nicolás Guillén Birth home of Nicolás Guillén Camagüey Cuba
The Casa Natal de Nicolás Guillén preserves the birthplace of Nicolás Guillén, another revered son of Camagüey. Guillén was a well-respected and celebrated poet, not only in his native land, but throughout all of Latin America as well. Personal items and numerous copies of his poems are on display at this museum. Located at Calle Hermanos Aguero 58 (2 blocks wouth of the Plaza de los Trabajadores, the museum is open Monday through Friday, 8 a.m. to 5 p.m. Price of admission is FREE.

The Museo Provincial General Ignacio Agramonte

The Museo Provincial General Ignacio Agramonte is a multi-purpose museum that houses collections ranging from archeological items to the fine arts. The museum's holdings also include a natural history collection that feature the flora and fauna of Cuba. The majority of items in this museum, however, center on the fine arts, focusing on local and regional pieces ranging from the early 19th century to modern works. The msueum, located at Avenida de los Martires 2, is open Monday 1 p.m. to 5 p.m., Tuesday through Thursday and Saturday 10 a.m. to 5 p.m., Friday 12 p.m. to 7 p.m., and Sunday 10 a.m. to 2 p.m. Price of admission is $2 for adults, and children under the age of 12 are free.

Historic Center of Camagüey

One of the first seven villages founded by the Spaniards in Cuba, Camagüey played a prominent role as the urban centre of an inland territory dedicated to cattle breeding and the sugar industry. Settled in its current location in 1528, the town developed on the basis of an irregular urban pattern that contains a system of large and minor squares, serpentine streets, alleys and irregular urban blocks, highly exceptional for Latin American colonial towns located in plain territories. The 54 ha Historic Centre of Camagüey constitutes an exceptional example of a traditional urban settlement relatively isolated from main trade routes. The Spanish colonizers followed medieval European influences in terms of urban layout and traditional construction techniques brought to the Americas by their masons and construction masters. The property reflects the influence of numerous styles through the ages: neoclassical, eclectic, Art Deco, Neo-colonial as well as some Art Nouveau and rationalism.
Outstanding Universal Value

One of the first seven villages founded by the Spaniards in Cuba, Camagüey played a prominent role as the urban centre of an inland territory dedicated to cattle breeding and the sugar industry. Once settled in its current location in 1528, the town developed on the basis on an irregular urban pattern that contains a system of squares, minor squares, serpentine streets, alleys and irregular urban blocks, highly exceptional for Latin American colonial towns located in plain territories. Religious buildings, associated with the main squares, constitute a system of landmarks in the urban fabric, characterized by its homogeneity. Architectural values are associated with typical domestic architectural typologies and the use of consistent construction materials and techniques, especially the extended use of earthen components, which reveal influences from Andalusia. The use of truncated pilasters at the entrance gates and of clay vessels for water storage are features that identify Camagüey’s domestic architecture. The historic centre continues to act as the city core and the place for social and cultural activities, which reflect a rich intangible heritage.

Criterion (iv): The Historic Centre of Camagüey constitutes an outstanding urban architectural type in Latin America, featured by its irregular urban layout that produced an unusual system of squares, minor squares, serpentine streets, alleys, urban blocks and plots system. Monumental and domestic architecture form a homogeneous urban fabric where it is possible to find architectural expressions corresponding to different periods of the evolution of the town.

Criterion (v): The Historic Centre of Camagüey constitutes an exceptional example of a traditional urban settlement relatively isolated from main trade routes, where the Spanish colonizers were subject to European medieval urban influences in the urban layout and to traditional construction techniques brought to the Americas by the first masons and construction masters.

The nominated property is of adequate size and contains all the necessary material components to guarantee the integrity of the historic centre. The persistence of the original urban layout, of the architectural types and materials, of the traditional craftsmanship and of uses and spirit allows the historic centre to meet the required conditions of authenticity.

The legal protection and the management system and instruments have proved to be adequate for ensuring the proper conservation of the nominated area and its buffer zone.

Camagüey, Cuba: UNESCO Cultural Heritage Site

Part of Camagüey will be officially declared Cultural Heritage of Humanity on February 2, celebrating the 495th anniversary of the traditional date of the foundation of the city.

The ceremony will take place with an artistic show at Agramonte Park, antique Plaza de Armas, where it began the last settlement of Villa de Santa Maria del Puerto del Principe, currently called Camagüey.

The Project, dedicated to one of the first settlements constituted by the Spaniards in the New World, has artistic, literary, historical, political, recreational and sport character.

The program includes activities such as the symposium "Challenges in the handling and management of cities", and the presentation of the Network of Offices of the Historian of the City, which groups entities from five provinces.

UNESCO designed this part of Camagüey a Cultural Heritage of Humanity Site last July. Present at the awarding ceremony will be Herman Van Hoof, representative of UNESCO for Latin America and the Caribbean and other personalities.

Will be declared officially urban historical center of Camagüey Cultural Patrimony of the Humanity

Camagüey Jan 21.The sector of the city of Camagüey declared Cultural Patrimony of the Humanity, will be proclaimed officially with that condition the next February two, anniversary 495 of the traditional date of the foundation of the formerly village .

The ceremony will happen linked with an artistic show in the park Iganacio Agramonte, old Square of Weapons, where began to be born the last location of the Village of Santa María del Puerto del Príncipe, today Camagüey.

Dedicated to one of the first stable populational nucleo constituted by the Spaniards in the New World, the project for the date has artistic, literary, historical, political, recreational and sport character.

The programming includes activities like the symposium “Challenges in the handling and administration of the cities”, and the presentation of the Net of Offices of the Historian and of the Conservative of the City, which contains to entities of five counties.

Among the attractions figure equally the performance of the singers Kelvin Ochoa and Rosa María Ameneiro (Rochy), the first and two of February in the Square of the Workers, subjected at the present time to rebuilding, also in vigor in other areas of the town.

The list of companies to the celebration includes personalities like Herman Van Hoof, representative for Latin America and the Caribbean of the Organization of United Nations for the Education, the Science and the Culture (UNESCO).

In last July, the UNESCO granted the status of Cultural Patrimony of the Humanity to the part of bigger antiquity of the historical urban center of Camagüey, the most extensive in the country and with the category of National Monument.

Santa María del Puerto del Príncipe arose beside the northern bay of Nuevitas,it had it second establishment in the indigenous cacicazgo of Caonao, and in 1528 was transferred to her current location. (AIN).

St. John of God Church

The first reference to this hermitage dates from 1687. It was rebuilt in the second decade of the 18th century, with the financial support of its neighbours and in particular two main benefactors Jaspar Alonso Betancourt Cisneros and his wife. During his visit to the village of Puerto Principe in 1756, the Bishop of Cuba, Pedro Agustin formally announced the creation of the hospital of Our Lady of the Assumption, built next to the church.
Burials were carried out under the main altar and in the nave. Its benefactors are buried here, along with Maria De La Trinidad Cisneros, known as the La Capitana or La Coronela, due to her husband’s military rank. The latter, in 1792 donated the interesting image of the Most Holy Trinity, made of precious wood, which is found on the main altar of the church.
Previously the church had one tower on the right side, but this was demolished and later rebuilt in the centre. The tower is made up of four parts, crowned by a small semicircular dome and has semidetached pilasters. The second floor of the tower and the perfectly symmetrically facade are flanked by two large curved parapets, and in its centre is a small elliptical oculus that enhances the facade. Due to some of the structural designs, this church is said to have a slightly baroque influence, although a Cuban colonial architectural code with Mudejar influence predominates.

Club Friend Mayanabo

Hotel Club Amigo Mayanabo is a three star hotel located on Santa Lucia beach, in Camaguey, Cuba some 110 km away from Camaguey international airport. Mayanabo hotel is situated directly on a beautiful sun drenched beach with excellent snorkeling and diving offshore. The hotel offers value for money, a friendly atmosphere and some of the best entertainment on the island.

225 rooms, some with terrace, and all with 2 double beds, Air-conditioning, Shower, WC, Satellite TV and Telephone. Amenities include Large pool with shallow area suitable for children, Buffet restaurant, Snack bar, Several bars including piano bar and disco, 2 Tennis courts, Table tennis, Billiards, Volleyball, Basketball, Aerobics, Fitness room and more. Santa Lucia lies on Cuba's northern coast of Camaguey Province. Hotel Mayanabo boasts the world's second longest coral reef as well as a beautiful 19 kilometre natural beach.

Adalberto Álvarez: What Is Important Is Music

The so-called Gentleman of Son received the 2008 National Music Award.
Composing is still one of the greatest pleasures for Adalberto Álvarez.

Adalberto Álvarez is a kind of enlightened sonero [player of son, a Cuban rhythm]. A man who knows how to guard himself from fashions and snobbery. He belongs to the group of soneros and salseros who compose music with sobriety and poise. The Álvarez phenomenon became solid with his own band, where he sings, composes and plays the keyboard, always with an identifiable style. His face is usually welcome on television by those fellow countrymen and women who prefer to listen to restrained lyrics. (Adalberto Álvarez. Photo: Archive).

With nearly 40 years on the stage, Adalberto Álvarez continues to be the calm face of Cuban son, a man who knows how to guard himself from fashions and snobbery; and who prefers, despite the current times, to play in the best style of tradition.

Belonging to the group of soneros and salseros who compose with sobriety and poise, Álvarez is one of those rare points of contact between followers and critics of salsa [music], who use him in controversies as the perfect example of the artist who combines both lyrics and music authentically.

The National Music Award just presented to him is a very well-deserved accolade, which he could have had even before.

Although he was popular as a singer in Son 14, a band from some 25 years ago, the Álvarez phenomenon became solid with his own band, where he sings, composes and plays the keyboard, always with an identifiable style as the first notes are heard.

Adalberto Álvarez is a kind of enlightened sonero [player of son, a Cuban rhythm] who does not make any musical transformations out of whims or fashions, but to channel what he calls difficult combination of the merge between the most contemporary sound and tradition.

A charismatic, pleasant man, he is still associated with one of the early songs that gave him fame, A Bayamo en coche, which he wrote during a tour with Son 14 of the central part of the Island. He saw that next to the bus terminal there was one stand for horse-drawn carriages, and he felt like taking one to get to Santiago de Cuba, in the eastern tip.

Popularized in the 80s, it has been one of the most acclaimed pieces in Álvarez’s repertoire, as he likes poised lyrics that delve into the nation’s psychology with finesse and not offending listeners’ sensitivities.

Perhaps that is the reason why his face is usually welcome on television by those fellow countrymen and women who prefer to listen to restrained lyrics and watch a calm stage performance in which, by the way, he attaches more importance to his work than to the display of the singers.

Composing continues to be one of his greatest pleasures, particularly the songs on the CD that is still not on the market. However, he admits that this job is increasingly difficult after nearly four decades of trying to play into the audience’s preference.

“During the first stage of your career, you get eight hits out of eight, or seven out of eight, but it’s different when many years go by. Times are changing; the appeal with the people is different, and we also have work commitments to keep. The problem is not to make music like sausages,” he said about the much-debated issue of quality and popularity.

Álvarez is obsessively careful in composing, for when he senses that a song is not going to be to people’s liking, he dismisses it before it even goes to the repertoire. “I like to produce [music] so it can be seen. I make music for people to dance to,” he ascertained in another interview years ago.

As with nearly everyone else, Adalberto Álvarez is visited by nostalgia every now and then, but not to dwell with melancholy on times past; rather, to give a look of satisfaction at overcome stages, like a glass of water along the road.

With a large résumé of tours of Europe and some visits to the United States, the so-called Gentleman of Son keeps himself as busy as bee. About the controversy of whether Cuban salsa [music] is called timba, he prefers to stay out of the fire, as someone who is very self-assured because, in short, what is important for him is music.